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This series beats "Cobra 11" by Ferrari lengths

This is the story of some Ferrari.

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This series beats "Cobra 11" by Ferrari lengths

This is the story of some Ferrari. So it can't actually be a German story that needs to be told, but more on this cliché later. Two men are sitting in a car, the city is passing in front of the window.

One looks daring, the other looks more like a paper clip incarnate. "She's a Ferrari, I'm just a Golf," says the clingy man behind the wheel, shrugging his shoulders about the woman he almost doesn't dare to like. "You're a Ferrari too," replies the other, "one with engine damage and a nodding dog." But a Ferrari.”

Ali and Leo are their names, they are police officers, the unequal, initially hostile brothers in the new German Sky series with the English title "Drift - Partners in Crime". And what's to be proven in the ten-part series, five episodes of which are available now and five this fall, is Leo and Ali's potential Ferrariness. And that of a German action series in general.

The fact that German crime series are more like golf (Golf 2 as a rule) cannot be dismissed out of hand (and in principle it doesn't have to be a bad thing). Everything that serially accelerates faster and brakes harder, everything with a higher body damage, has a hard time. That's pretty neat on paper, but the small budget that comes together for it usually means that the nicely thought-out multi-part series doesn't quite get off the ground.

"Alert for Cobra 11" is an exception to the rule. But to stay in Petrol Head images, the never-ending RTL series is just a visually souped-up muscle car for speed-crazed highlights. One looks in vain for figures that consist of more than their surface in the Autobahn Police on the A115.

The body damage of "Drift" is not much less than that of "Cobra 11" (with which "Drift" shares the production company). Neither does the pace. Vehicles of any kind are misused for tracking purposes. "Drift" subjects its staff to a brutal material test. Faces are flayed.

It takes Ali and Leo and all the others more than one life to reach the cliff where "Drift" gets stuck at the end of the first five episodes. Not everyone can do it. There are about as many dead cars as there are dead people. It's not a pity for everyone. The script is not among the dead.

Back to Ali and Leo. Right at the beginning they race through Greece in a yellow taxi. A jeep follows them. Leo drives. At least until Ali pushes him out of the car. Then he jumps too. The taxi is the first corpse of "Drift".

Leo lies there as if dead. The story jumps back six days and to Munich. "Father would be proud of me," Leo said just before his door fell. The brothers had talked about his driving style. And Leo would probably have been right.

"Drift" is about some conspiracies in and around the police force, about clandestine international entanglements - above all it's about fathers and what they, what life does to them, to their children, what dependencies it brings them.

Ali and Leo's father was a rally driver. He died - this is regularly told by means of flashbacks - during a training drive. Ali sat next to him. Something went horribly wrong. He wasn't an easy father. Like most other growers in the Drift.

Ali is a police officer in Munich. Leo works at the LKA in Saxony. They have nothing to say to each other when it all starts. Leo has a son in Munich whom he hardly knows, Ali a lawyer with whom he has office sex, when he doesn't have it he lets himself be beaten up in MMA cages.

He's the tough guy, Leo the deliberate ironist. A consequence of the character material testing of this first "drift" half is the end of these apparent certainties. “Drift” is also a developmental novel.

Ali and his colleague Frida are supposed to collect a mountaineer at the border. He stole guns and everything. The Austrian colleagues arrested him. Then they are pursued and shot at. It's pitch black. Everything goes wrong first, then up in the air.

Balance: an exploded dangerous goods trailer, a finished mountaineer, a hospitalized Ali, a comatose Frida, fleeting pursuers, a collapsed bridge, half a dozen dead. It wasn't cheap and it doesn't look like it either.

Scrap is not being produced at the same pace. The pull is there. And he stays. "Drift" hurtles into some dimensions that "Cobra 11" will forever hide. There's fabulous dialogue, smaller bursts of satire, irony and always holds some deeper meanings.

Although it was a better idea to cast the strange buddy brothers with Fabian Busch and Ken Duken. They have mastered muscles and facial expressions, are capable of self-mockery, which - in other words, the flexing of muscles - is quite a revelation with Busch.

It may not be a Ferrari, this series, but it is definitely a Porsche Boxster.

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